Shaka King has spoken about spending
months working with Daniel to design the shots for "Newlyweeds." On working with
Shaka, and the process of preparing for a film:

Shaka King inspires me.

You gotta have a plan before you shoot a
movie. Everyone makes films differently. I like to shot list with directors. I
also have shot many documentaries, so I can be improvisational on the fly.

Filmmaking is like cooking - the right
ingredients, at the right temperature, for the right amount of time. Everyone
has different tastes. You gotta be flexible. Shot listing, storyboarding,
improvising, I like it all. I pride myself on being flexible.

On "Evolution of a Criminal," "Out in the
Night," and the needs and challenges of documentaries:

Those docs prepared me for narrative
films, how to light and frame quickly. How to operate a camera well with
limited takes. Both docs required dedication, persistence and patience.
Sometimes the people in the documentary don't feel like being followed with a
camera, and sometimes people get killed right after you've filmed them.
Documentaries take an emotional toll on you, on me. They are also rewarding. I
love that I shot those documentaries because I am part of the culture being
explored.

On tips and techniques for shooting in
challenging situations:

Cinematography is about your taste. You
have to like what you are shooting. If something feels distractingly bright,
try to flag it, or change your exposure. Know the limitations and strengths of
your camera. Scout, scout, scout and then scout again. Know what is possible in
post.

I learn every day about the lies these
camera companies say to sell their products. My biggest tip is to do
you and work on an image until you are happy, or until the director
says, "Let's shoot." At the end of the day, you're working
for her or him, or them.

I love available light because of my
documentary background. If you learn how to shape natural available light,
budgets don't matter as much. It is all about scheduling and having a great AD
like Mike Ellis, best in the
business. Working in confined spaces, Geoffrey
Erb (RIP) taught me to use the corners. Work with all skin tones how you
like - black, brown, pale, whatever... there is no right answer, and in my work
I think that is evident. I try and change it up, keep it fresh. Remember your
negative fill, for black bodies.

Daniel says he has no preferred camera,
but points out lenses and memory as being invaluable on set:

Our best tool is our memory.

But in terms of
equipment, I'd say lenses are essential for DPs. Learn different ones, use
different ones... educate your tastes.

In addition to his work as a DP, Daniel
has also directed an award-winning short with Justin Staley called "Stag And
Doe," and plans to continue directing:

"Stag and Doe" won ABFF a
few years back. That is the only short I ever sent out anywhere, regarding
festivals. I am very critical of my work. I will direct again. DPing has
influenced my directing by me stealing tricks from the various directors that
I've worked with.

On the shot he's proudest of capturing:

There’s a shot in "Da Sweet Blood of Jesus," a low angle close up on our lead, Stephen Tyrone Williams. He has on a
light blue/grey suit, the sky is bright behind him, and he is dark-skinned like
me. I'm proud that we only used b-board to light him. I'm proud of the simplistic
lighting that me and my longtime gaffer Justyn
Davis came up with for this film. He trusts me. I trust him. When there is
trust amongst collaborators, the final product has a great chance at being
correctly communicated.

I especially love that Justyn and I are
independent, and along with [production designer] Kay Lee, we were able to shoot the feature in 16 days, a day faster
than our original plan of 17 days. The entire crew made that possible.

On the benefits of cinematography:

I love what I do because I am an
independent contractor. I can work anywhere and some of the stuff that I have
shot, I still do not believe, and you wouldn't either. It has taken me many
places over the globe and given me room to grow. These experiences have helped
shaped who I am and I love what I do. The stuff that I've learned, the people
I've met in basically all industries... priceless.

On what's next:

Nikyatu
Jusu has an amazing feature film coming up called "Free
The Town" that I will shoot in Sierra Leone. I also shot "African
Booty Scratcher" and "Say Grace Before Drowning"

**

Many thanks to Daniel Patterson for his thoughts.

For more on Daniel Patterson’s work, visit danielpattersondp.com and prepschoolboys.com.